SKU: PR.11441345S
UPC: 680160608829. 8.5 x 11 inches.
BACH-SHARDS was commissioned by the Brentano String Quartet as part of their Art of the Fugue companion-piece project. Ran deliberately stays within the realm of Bach-like vocabulary, altering syntax in ways that add up to something slightly different from the anticipated sum of the parts. The work builds up to a climax that makes the entry point into Bach’s Contrapunctus X seem thoroughly natural.While composing Bach-Shards I found myself gravitating, intuitively and gradually, toward a dual goal. First, though the tension and dissonance inherent in certain moments of Bach’s own maze-like contrapuntal structures could quite easily and naturally lead one into a pungent contemporary terrain, I opted not to stray outside the realm of Bach-like materials and harmonic language. Instead, it was my hope to alter their relationships and context in ways that add up to a something that’s slightly different than the anticipated sum of the parts. A mildly deconstructed Bach, if you will. The other important challenge I set for myself was building up the latter, toccata-like portion of Bach-Shards in a way that would make the entry point of the fugue which it precedes, Contrapunctus X, seem thoroughly natural. It was my intent to have the first fugal entrance feel like a huge and much welcome release of the energy created by my Prelude’s penultimate stretch, with its bravura figurations elaborating on an insistent dominant pedal point.
SKU: HL.50493308
SKU: HL.49047483
UPC: 196288300670.
With the latest addition to the Guitar Music Collection series, author and composer Thomas Fellow (including Fellow Guitar Book) offers the most comprehensive and sophisticated selection of works to date in his own modern, stylistically open sound language. Fingerfood XXL Vol. 2 includes several multi-track âsuitesâ as well as longer concert pieces in the style of his üextremely successful first work Medusa. And so fingerstyle influences can be recognized as well as Mediterranean or Brazilian sounds, jazz or pop music - for the greatest joy of playing and intense listening pleasure. As a guitarist who has performed all over the world (European Guitar Quartet, Friend `n Fellow, Hands on Strings), Fellow concludes this issue with his solo arrangement of the 70s classic September by the band Earth, Wind and Fire, a celebrated highlight at many of his concerts. Fingerfood XXL Vol. 2 is aimed at performing guitarists, students and ambitious amateurs. The pieces are all complex, set at a higher level of difficulty (4-5) and offer an ideal addition to the modern guitar repertoire.
SKU: CF.PPS20
ISBN 9780825895395. UPC: 798408095390. 9 x 12 inches.
This piece for the youngest students depicts wide open spaces, rugged terrain, and covered wagons heading West through the American plains. Students will love to play this contest selection, written in a minor mode. It will make them sound more mature than their experience as the piece can be performed with as little as 10 weeks of study.
SKU: AP.1-ADV7406
UPC: 805095074062. English.
This rhapsody, based on Eastern European music and Klezmer, contains four main themes: a waltz, a dance on asymmetrical rhythms, followed by a slow but expressive movement, a brilliant finale with Mediterranean influences including an improvisational part.
SKU: BA.BA05866
ISBN 9790006498055. 33 x 26 cm inches. Text: Christoph Gottlieb Wend.
Continuo-Aussetzung von Andreas Kohs.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: CF.PPS20F
ISBN 9780825896019. UPC: 798408096014. 9 x 12 inches.
This piece for the youngest students depicts wide open spaces, rugged terrain, and covered wagons heading West through the American plains. Students will love to play this contest selection, written in a minor mode. It will make themsound more mature than their experience as the piece can be performed with as little as 10 weeks of study.
SKU: DZ.DZ-1814
ISBN 9782896557134.
SKU: HL.50580910
SKU: HL.50565786
SKU: FG.55011-372-5
ISBN 9790550113725.
Images of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss. Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water. The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound. It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.
SKU: PR.416413010
UPC: 680160605682.
Under the Sun's Gaze as a title for a musical composition conjures up many possibilities. It is, in fact, an imagined line from an unwritten poem, invented with the idea of capturing something of the visual aura the sounds and energy of this work invoke in its composer' mind. An omnipotent presence in all of nature, a source of life yet also capable of its destruction, the sun affects the light and dark in our physical existence as it defines the daily and seasonal life. The music of this work, in three interlocking parts, takes turns being exuberant, caressing, scorching, receding, hazy, lazy, blazing, dissolving into darkness, blinding in its intensity. Subtitled Concerto da Camera III, this work is written for what has become known as the standard Pierrot instrumentation of flute, clarinet, violin, cello, piano plus percussion. The difference here is that the winds are doubled - the two flutists alternating with piccolo and alto flute and both clarinetists also doubling on bass clarinets. The ninth member of the ensemble, a soprano saxophone, appears well into the piece, its lyrical, plaintively expressive quality dominating the musical terrain for a while. While occasionally joining the others for some tutti outbursts, it maintains its position as something of a guest throughout. Of the various thematic ideas that populate this work, a six-note descending line played by the clarinet appearing right at the work's opening then arching back up reveals itself, as the music unfolds, to be the principal melodic building block of Under the Sun's Gaze. Its various transformations include the plaintive soprano saxophone melody appearing in the middle section. Just under 20 minutes in length, the work in its totality can be heard as being in a loose arch form, its ending receding into a distant darkening horizon which carries in it the seed of the new dawn that lies beyond. Under the Sun's Gaze was commissioned by the Serge Koussevitzky Music Foundation in the Library of Congress for the San Francisco Contemporary Players, David Milnes, conductor.
SKU: AP.46670
ISBN 9781470652678. UPC: 038081533049. English.
Highlighting the falls as it cascades over rocky terrain, sparkling wind and brass fanfares depict the water as it rushes forward before exploding over the edge. Melodic lines transport the audience into the mysterious and rapturous wilderness as this remarkable piece evokes one of nature's must glorious creations. This title is available in MakeMusic Cloud.
SKU: HL.49046188
ISBN 9781540051684. UPC: 888680938703. 9.0x12.0 inches.
When Cuarteto Casals approached me with the idea of illuminating Beethovens quartets anew, you can imagine the many thoughts and feelings that where going through my mind: what a joy, what a great honor What an intriguing head-scratcher! How can you possibly shine a new light on something that is already perfect? Weeks, months went by in search of a common ground between the Master and myself until I finally found it in the realization that a word lays hidden in the St. Johns hymn that gave musical notes their original name: Re, Sol, Ut, Io (D, G, C, B in English music notation) Perfect! “Resolutio†in Latin means both the resolution of aproblem and the re-solution: a re-blend of many elements that will eventually coagulate to make something new. There was finally themelodic and a rhythmical canvas for my piece. On this canvas I wrote the story of a funny little contest, played on a sunny Mediterranean square, between street musicians and Cuarteto Casals just minutes before they are about to go on stage to perform Beethovens Harp Quartet. After all the characters, each in his own way, had the chance to tell their story, a gentle rain starts to fall, dissolving (Re-solving) again the music sheet to eventually leave us with just a white piece of paper for somebody else to continue the Work. (Lucio Franco Amanti).
SKU: BT.AMP-322-010
9x12 inches. English-German-French-Dutch.
Named after the leaf displayed on Canada’s flag, Maple Leaf Overture was composed specifically to open a Canadian school’s symphonic band tour of England. A short fanfare during the overture smoothly transitions to a jazzy, syncopated section. The main theme is first played by the horns and saxophones, and then by the entire ensemble. This lively theme then alternates with a slower second theme, building momentum before a brisk coda culminates in a rousing finale!Maple Leaf Overture gaat natuurlijk over het bekendste herkenningsteken van Canada: het blad van de esdoorn, in de vlag. Sparke componeerde dit openingswerk speciaal voor een Canadees schoolorkest uit Calgary, voor hun tour door Groot-Brittannië.Een korte fanfare gaat in deze ouverture naadloos over in een jazzachtig, syncopisch vivo. Eerst nemen de hoorns en saxofoons het hoofdthema voor hun rekening. Daarna speelt het hele orkest dit thema. Spanning ontstaatwanneer het snelle hoofdthema een langzaam tweede deel afwisselt. Daarna keert het snelle hoofdthema weer terug. Een snel coda beëindigt de ouverture. Maple Leaf Overture: feestelijk en sprankelend!Maple Leaf Overture trägt das kanadische Wahrzeichen, das Ahornblatt im Titel. Eine kurze Fanfare geht in dieser Ouvertüre nahtlos in eine jazzig synkopiertes Vivo über. Das Hauptthema dürfen erst die Hörner und Saxophone vorstellen, dann spielt das gesamte Blasorchester. Es entsteht Spannung durch den Wechsel zwischen dem schnellen Hauptthema, einem langsameren zweiten Thema und zurück, bevor eine schnellere Coda das Werk beendet.Maple Leaf Overture porte l’emblème du Canada (la feuille d’érable) jusque dans son titre… Ce morceau, composé par Philip Sparke, a été joué par l’Orchestre Symphonique du Lycée de Calgary dans le cadre de sa tournée en Angleterre. La pièce s’ouvre avec une fanfare maestoso, puis un passage en tempo vivo introduit peu peu des rythmes syncopés de style jazzy. Un motif plus doux nous conduira progressivement vers un apogée où le thème central réapparaît. Le morceau se termine par une brève référence la fanfare d’ouverture, suivie d’une rapide coda.Maple Leaf Overture, il cui titolo riporta all’emblema della bandiera canadese (la foglia di acero), è un brano commissionato a Philip Sparke dall’Orchestra Sinfonica di un liceo di Calgary che l’ha eseguita in occasione di una serie di concerti tenutisi in Inghilterra. Il brano apre con una fanfara maestosa che alterna fraseggi affidati alle varie sezioni della banda. Questa successione omogenea in un tempo vivo introduce progressivamente ritmi sincopati in stile jazz. Un tema principale, all’inizio eseguito dai corni e dai sassofoni, sar in seguito ripreso da tutto l’organico. Segue un motivo più dolce che si intercala progressivamente verso un’apoteosi nella qualeviene riproposto il tema principale. Il brano si conclude con un breve richiamo alla fanfara di apertura, seguita da una rapida coda.
SKU: HL.44011528
UPC: 884088894160.
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